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Hello again, another wood firing question for those of you with more experience! I'm going to try a few different clay bodies in an wood firing next month. I'm in Ontario, Can - so I'm going to test a porcelain and Tony Clennell's clay body for sure. I've also seen a lot of work with gorgeous deep purple/brown tones. Are there any clay bodies/slips/kiln placement that I might experiment with to get this color?
Thanks, Lindsey

Hello all,
I'm participating in my first wood firing, and I have been doing some reading about using flashing slips. Some say they are applied thinly over bisque wear, others seem to apply before the bisque. Anyone have some experience with these methods? Photos would be greatly appreciated as well! I'm also interested in trying to spray some slips.
Thanks!

This cup is in the invitational exhibition "I'll Drink To That" at the Eclipse Mill Gallery in North Adams, MA until August 27th, 2017. Handbuilt, woodfired, American Shino, overglaze enamel, gold luster.

This handbuilt bottle form shows the marks left by Josh Query's "manmade "seashells". The mix is 50% plaster, 50% whiting, and salt water to mix the stuff up with. Josh wanted shapes of marks that were more rectilinear than what naturally happens with scallop shells.
Was fired in the spring 2017 firing of New Hampshire Institute of Art's #Fushigigama. Was in the last rear stack of shelves.

Some people asked me to keep some updates here on out progress. So...... here are a couple of shots of the first two days of the build:
Day One
Day Two
More to come in this thread. Check back every day or so if you are interested.
best,
.................john

I'm looking for work at a Pottery in the UK...any suggestions please? Here's a link to my pottery page on Face Book for an idea on my pottery skills: https://www.facebook.com/CraftyIdeasPottery
Thanks!
Anamica.

Jack Troy â€“ Pottery Forms: Intention and Happenstance
WS05 â€“ Saturday & Sunday, 10-4pm, November 9 & 10
Fee: $200 member/$225 non-member
This 2-day demonstration/discussion workshop includes presentations on Japanese teabowls as well as both contemporary and historic pots to help enlarge our approach to our persoanl work and emphasize the evolution of personal forms â€” pots with a unique identity. Using the cup as a take-off point, Jack will demonstrate how the cup reflects a concern for functional and aesthetic values, including surface decoration, tactile qualities, inside-outside considerations, spontaneity and control, as well as focusing attention on the cup as a whole: weight, lip, foot, body, handle. Thrown cups will be altered by faceting, carving, paddling, stamping and heavy slip application. His most recent, tactile, sculptural teabowls are altered significantly from thrown components. Jack will demonstrate extending the scale of work, and will apply a variety of altering techniques to thrown forms while addressing how and why some pieces are made specifically to be fired with wood. Pitchers, jars, and bowls of various scales with be thrown and altered, befriending asymmetry.
Jack Troy's anecdotal style of information-sharing covers a wide range of topics, including technical and aesthetic issues in ceramics, personal goals, and the dilemma of being a literate potter while knowing that most of the world's best pots were made by people who couldn't read, write, or do glaze calculation. The aim of the workshop will be to meet each other and exchange ideas that help extend our personal knowledge of forming and firing so the choices we make about our work might enliven the clay we use. Participants are asked to bring with them 2 pots â€œlived with over timeâ€ â€“ one made by the individual and one by someone else â€“ to illustrate two types of â€œmeaningâ€ with regard to how a piece conveyâ€™s significance to us.
2013 is Jack Troyâ€™s 51tst year of making pots. During the past year he fired 11 different kilns, including the anagama at Golden Bridge Pottery, in Pondicherry, India, in February 2013, where he taught his 230th workshop. Other events include workshops in Washington State, at Fern Hill Pottery, Brush Prairie; and Shoreline Community College, Seattle. In Maine, he held a Residency at Watershed Center for the Ceramic Arts, judged the 2012 Strictly Functional Pottery National exhibition, and received the 2012 Excellence in Teaching Award from the National Council for Education in the Ceramic Arts (NCECA). His education in ceramics has included trips to 26 countries. Having published over 80 articles in ceramics publications, he also wrote Salt Glazed Ceramics, Woodfired Stoneware and Porcelain, and Calling the Planet Home, [poems]. His work has been exhibited widely, and is in numerous collections, public and private.
He has said, â€œI made my first pot - a wretched little bowl with a pitted glaze - in November, 1962. This simple act changed my life, leading me to believe, 51 years later, that potters may change the world for the better, one handful at a time.
â€œWe potters finish our work, but only others can complete it, through use. Pottery, then, is only finished once, but can be completed endlessly, by a succession of users, keeping it active in a variety of settings.â€
WS05 - Saturday & Sunday, 10-4pm, November 9 & 10
Fee: $200 members; $225 non-members
Register on-line or contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information.
Baltimore Clayworks
5707 Smith Avenue
Baltimore, MD 21209
www.baltimoreclayworks.org